Yu Xin’s Regional Aesthetic Consciousness

Yu Xin lived in the late period of the northern and Southern Dynasties.He lived in more places than the northern and Southern Dynasties.He went through four dynasties and ten emperors.Under the influence of Confucianism,Buddhism and Taoism,he formed his unique regional aesthetic consciousness.Yu Xin lived in the south in his early days.Influenced by Xiao Liang’s elegant aesthetic thoughts,his poems and Fu have a clear and natural charm.In the second year of the Qing Dynasty,when Hou Jing was in turmoil,Emperor Liang ascended the throne and Yu Xin sent to the Western Wei Dynasty.After Liang Dynasty,he was detained in the north and served in the Northern Dynasty.Yu Xin’s thought had been basically formed in the Southern Dynasty: Confucianism,Buddhism and Taoism were mixed,mainly Confucianism.After entering the north,it was this thought that influenced the construction of Yuxin’s regional aesthetic consciousness.This paper intends to study Yu Xin’s regional aesthetic consciousness from the following five aspects.The first chapter discusses the formation factors of Yuxin’s regional aesthetic consciousness construction,his unique survival experience across the north and the south,as well as the different natural regional environment and regional cultural environment in the north and the south.Coupled with the changes of his personal psychology,Yuxin’s regional aesthetic consciousness has obvious differences,which are embodied in the differences in time before and after entering the north,and the differences in space between the South and the north.The second chapter studies Yu Xin’s thoughts of "Tian Dao" and "Xing Ling".Yu Xin lived in the social ideological trend of Confucianism,Buddhism and Taoism.His exposition of "Tian Dao" and "Xing Ling" reflects his absorption of Taoist and Buddhist thoughts,as well as his praise of Confucian culture and his suspicion of it.In the early stage,he thought that heaven’s destiny could not be violated.In the later stage,he witnessed the scene of corpses everywhere in the chaos of war,and was influenced by the aesthetic concept of emphasizing quality and reality of northerners,so he began to doubt "Tian Dao".This means that Yu Xin’s self-consciousness in regional aesthetic consciousness is further developed.Yu Xin’s interpretation of "Xing Ling" tries to get rid of the oppression of Confucianism and pursue aesthetic consciousness.By comparing the development of Yu Xin’s religious thought,we can find the evolution of his unique regional aesthetic consciousness.The third chapter studies Yu Xin’s regional aesthetic consciousness and the establishment of ritual system in the Northern Dynasty.Yu Xin’s understanding of traditional rites and its aesthetic standards were established in the Southern Dynasty.After entering the north,he was burdened with the burden of building rites and music for the royal family.The unique regional culture of the Northern Dynasty enriched his ideological connotation of rites and music aesthetics.From his suburban Temple songs and other works,Yu Xin’s propriety combined with music aesthetic concept in his early stage was injected into the propriety aesthetic trend of the Northern Dynasty after Yu Xin entered the north.Yu Xin’s propriety and music aesthetic concept showed forthright and simple aesthetic characteristics.The fourth chapter discusses the regional aesthetic consciousness in Yu Xin’s creation.Especially the creation of aesthetic images.Through the comparative analysis of three groups of images: spring tree and withered tree;deep spring and sad autumn;beauty and resentful wife,we can find the changes of Yu Xin’s regional aesthetic consciousness caused by the changes of natural geographical environment,regional culture and personal psychology,that is,the aesthetic meaning of pure and beautiful nature in the Southern Dynasty After entering the north,it turned into a desolate and sad aesthetic consciousness.At the same time,this change has the characteristics of extensiveness,diversity and continuity of regional aesthetic consciousness.The fifth chapter discusses the historical value of Yu Xin’s regional aesthetic consciousness.Yu Xin’s regional aesthetic consciousness has the characteristics of integration of the north and the south.Because of this,Yu Xin plays a positive role in promoting the integration of the north and South cultures.Yu Xin’s aesthetic value judgment,creation and style had influenced the creation of later generations.For example,the four outstanding scholars,Du Fu and Li Shangyin all inherited and innovated Yu Xin’s aesthetic consciousness.It has a unique position and historical value in the history of ancient Chinese aesthetics.